Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
Bestowing Knowledge of Saṃvara is a technical manual for the visualization and ritual practice of the Cakrasaṃvara deity system. The text functions as a guide for the practitioner to construct a complex internal and external sacred geography, mapping the deity's mandala onto the human body and the cosmos. It details the precise iconography of Heruka and accompanying deities, the arrangement of the wisdom wheels, and the identification of specific anatomical parts with Buddhist deities and spiritual purities. By integrating mantra recitation, mudras, and torma offerings, the work commits the reader to a rigorous process of somatic transformation. The goal is to dissolve the conceptual construction of death and achieve a state of non-dual realization through the union of the practitioner's body with the vajra-body of the deity, effectively transforming the physical form into a divine mandala.
Provenance
About this text
Explaining the sādhana of the glorious Heruka, the Samvarākalita is a work of classical Tibetan Buddhism. The text is attributed to the Indian author Bodhivajra. It entered the Tibetan tradition through the work of the translators Bhadrabodhi and lo tsa ba dge slong dge ba’i blo gros, appearing under the Tibetan title bde mchog shes par byed pa. This version is preserved in the Tengyur, volume ཞ, where it spans 19 pages and is situated within the collection of the Śaṃvara and Related Tantras. The work enacts a ritual process of visualization and somatic transformation, beginning with homages to Mañjuvajra and Vajraḍākinī. It guides the practitioner in visualizing Heruka as a multi-colored lotus-vajra and mapping specific deities—such as Mohavajrā, Dveṣavajrā, Mātsaryavajrā, and Rāgavajrā—onto the sensory organs through the emergence of seed syllables. The practice further involves the emanation of wrathful deities into the ten directions and the integration of mudras with specific mantras. A scholar or serious reader consults this text today to examine the precise iconographic and ritual instructions used to dissolve conceptual thoughts and achieve a state of non-dual realization by transforming the physical form into a divine mandala.
Sanskrit title
Samvarākalita
Indian author
Bodhivajra
Tibetan translators
Bhadrabodhi, lo tsa ba dge slong dge ba’i blo gros
This work is significant as it exemplifies the Anuttarayoga Tantra method of utilizing the body as a site for spiritual alchemy. For the modern reader, it provides a primary example of how Indo-Tibetan Buddhism systematizes the relationship between anatomy, geography, and deity yoga.
Structure
Passages
Section
Description
1-11
Iconography and Mandala Construction
Descriptions of Heruka's appearance, the visualization of the water and earth mandalas, and the placement of deities in the cardinal and intermediate directions.
12-15
Somatic Mapping and Yoga
Instructions on the approach stage and the identification of specific body parts (throat, heart, organs) with specific goddesses and buddhas.
16-22
Ritual Invocation and Mantras
Lists of yoginīs, specific mantras for consecration, and prayers to stabilize the wheel and the presence of the deities.
23-27
Spiritual Purities and Offerings
Correlation of deities with mental powers (diligence, mindfulness), instructions for torma offerings at midnight, and a lunar calendar for worship.
Themes
Deity Yoga and Visualization (1-12)
Somatic Transformation (13-15)
Mantra and Ritual Efficacy (18-22)
Ritual Calendar and Offerings (26-27)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Sambarakalitanāma. In the language of Tibet: bDe mchog shes par byed pa (Making Cakrasaṃvara Known). Homage to the Blessed One Mañjuvajra. Homage to the Blessed Vajraḍākinī.
To the glorious Heruka, the chief of the wrathful, the nature of both existence and non-existence, who destroys one’s own conceptual thoughts—to him I prostrate and shall explain his sādhana.
In mountain caves and mountain ravines, on riverbanks and at the confluence of waters, in delightful places on the shores of the ocean, at the foot of solitary trees, in charnel grounds, or in empty, uninhabited houses—one should meditate on the chief of heroes. Or in places where the teachings are established, or wherever the mind finds joy.
There, with the pride of the five aggregates, one should generate the mind of enlightenment in a virtuous manner. From the syllable Oṃ, the aggregate of form is white Vairocana. From the syllable Āṃ, feeling is yellow Vajrasūrya. From the syllable Hrīḥ, perception is red Padmanarteśvara. From the syllable Ho, formations are green Vajrarāja. From the syllable Hūṃ, consciousness is white Vajrasattva. From the syllable Hi, all the Tathāgatas are the glorious black Heruka.
Seated upon a variegated lotus, moon, and sun-disc in the center, upon lions, elephants, horses, peacocks, and garuḍas, and upon corpses, one should meditate on the chiefs of the six families in their respective order. The essence is the vajra earth-touching gesture; the others, in their proper sequence, hold a wheel and a jewel in their right hands.
[He is] a multi-colored lotus-vajra. In his left hand, he holds a bell at his hip. All of them have three eyes. In the eyes, from Bhūṃ arises white Mohavajrā (Delusion Vajra). In the ears, from Hūṃ arises black Dveṣavajrā (Hatred Vajra). In the nose, from Khaṃ arises yellow Mātsaryavajrā (Avarice Vajra). In the mouth, from Āḥ arises red Rāgavajrā (Desire Vajra). In the body, from Trāṃ arises green Īrṣyāvajrā (Envy Vajra). In all the sense bases (āyatana), from Haṃ arises white Īśvaravajrā. In the earth element, from Laṃ arises yellow Pātanī (The Cast-down). In the water element, from Māṃ arises black Māraṇī (The Killer). In the fire element, from Pāṃ arises golden-yellow Ākarṣaṇī (The Attractor). In the wind element, from Tāṃ arises red Padmanarteśvarī (Lotus Dance Mistress). In the space element, from Khaṃ arises smoke-colored blue Padmajālinī (Lotus Netter). These reside in their respective maṇḍalas; they have one face and four arms. In their right hands are a wheel, a vajra, a lotus, and a sword; in their left hands are a curved knife (kartṛ) and a skull-cup (kapāla), and a khaṭvāṅga and a moon. Padmajālinī herself has three faces and six arms. In her hands, one should meditate on a skull-cup, then a khaṭvāṅga and a noose, a hook, a head of Brahmā, and a curved knife. Thus, the yogin, through the power of the ordinary aggregates, elements, and sense bases, should purify them with: Oṃ prakṛtipariśuddhāḥ sarvadharmāḥ prakṛtipariśuddho ’ham. From the center of the space of the heart-maṇḍala, one should meditate on a sun-maṇḍala. Upon that is the supreme reality, the peaceful nature of the five wisdoms.
Having visualized the supreme nature of various rays of light radiating out in all directions, one should recollect the secret mantra in the four directions. One should emanate wrathful deities holding kīla-wedges into the ten directions. Joining the index finger to the thumb, one should snap the fingers in the ten directions. In the east: OṂ SUMBHANI SUMBHA HŪṂ HŪṂ PHAṬ. In the north: OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ. In the west: OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ. In the south: OṂ ĀNAYA HO BHAGAVĀN VIDYĀRĀJA HŪṂ HŪṂ PHAṬ. By means of this king of secret mantras, one should plant the wrathful kīla-wedges upon the crowns of all obstructors, in both the forward and reverse order: OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA VIGHNĀṂ HŪṂ HŪṂ PHAṬ. OṂ KĪLAYA KĪLAYA SARVA PĀPAṂ HŪṂ HŪṂ PHAṬ. HŪṂ HŪṂ HŪṂ VAJRAKĪLA VAJRADHARA ĀJÑĀPAYATI SARVA DUṢṬĀṂ VIGHNĀṂ KĀYA VĀKA CITTA VAJRAKĪLAYA HŪṂ PHAṬ. Striking with the vajra-kīla while looking at the wrathful deity and piercing him: OṂ VAJRAMUṄGARA VAJRAKĪLAYA ĀKOṬAYA HŪṂ HŪṂ PHAṬ. Having struck with garlands of light rays in the ten directions up to the peak of existence, one should visualize that from those light rays, a fence, a net, a vajra ground, a canopy, and a net of arrows are established. Far outside of that, one should arrange a net of vajra fire: OṂ MEDINĪ VAJRĪ BHAVA VAJRABANDHA HŪṂ. OṂ VAJRAPRĀKĀRA HŪṂ BAṂ HŪṂ. OṂ VAJRAPAÑJARA HŪṂ PAṂ HŪṂ.
Oṃ vajra vitāna hūṃ khaṃ hūṃ. Oṃ śara jvala trāṃ saṃ trāṃ. Oṃ vajra jvālānalāra ka hūṃ hūṃ hūṃ. Having beheld the supreme maṇḍala, the delightful abode of the expanse of space, one should invoke the accomplishments and perform the consecrations. Beholding the buddhas, bodhisattvas, and the wrathful deities and goddesses from all sides, as well as the sublime gurus and bodhisattvas, like a pod full of sesame seeds, one should offer to the goddesses who are the nature of the offerings. Then, having gone for refuge, for the sake of all sentient beings, one should transform oneself into Heruka and establish those sentient beings in the supreme state of Heruka. Oṃ svabhāva śuddhāḥ sarvadharmāḥ svabhāva śuddho ’haṃ. Reciting this three times, one should request them to depart with "Oṃ muḥ." Then, one should abide in the four brahmā abodes in their proper order. With a one-pointed mind, focusing on the perfection of concentration, one should view all phenomena as empty in their ultimate sense. Having meditated on the accumulations for awakening, one should abide in mind-only. Having visualized the maṇḍala of wind, one should contemplate it extending down to the subterranean realm. Arising from the syllable Yaṃ, it is blue in color, shaped like a bow, marked with victory banners, and enveloped in a mass of smoke. Above that, from the syllable Raṃ, is the supreme triangular maṇḍala of fire, red in color, blazing with a mass of flames.
One should visualize another [disc] marked with a vajra, like ten million suns. Above that is the water maṇḍala itself, arising from the syllable BAṂ, which is sublime and resembles snow, circular and surrounded by rays of light. Above that, arising from the syllable LAṂ, is the yellow earth maṇḍala, four-cornered and marked with a yellow vajra; one should visualize it as dense with a mass of light rays. Above that is the supreme Mount Meru, four-cornered and composed of jewels, beautifully adorned with eight peaks, arising from the delightful syllable SUṂ; one should meditate on it as the most sublime of the sublime. Above that, upon a multicolored lotus with various petals, is a crossed vajra (viśvavajra) with three prongs arising from the syllable HŪṂ. Above that is an eight-petaled multicolored lotus arising from the complete transformation of the syllable PAṂ. In its center, upon a sun disk, is a five-pronged vajra arising from the syllable HŪṂ, having the nature of Vajrasattva, from which various rays of light radiate; one should visualize this. In its center is the glorious Heruka, situated in the midst of the sun. Outside, within the vajra lattice of the fierce and wrathful charnel grounds, one should apply four each in the directions in counter-clockwise order, and in the intermediate directions such as Īśāna. In the east, in counter-clockwise order, are Caṇḍa, Kānana, Jvālākula, and Kaṅkāla. In Īśāna is Hahāraṭa; in the southeast is Śrīdhara; in the southwest is Mahāndhakāra; and in the northwest is Kalakala. To the left are Śiṃśapā and Aśvattha.
The plantain tree and the mango, the paṭa and the karañja, the laṭā and the pārijāta, the arjuna—Indra, the Giver of Wealth (Kubera), the Lord of Waters (Varuṇa), the Lord of Yakṣas (Vaiśravaṇa), Īśāna, then the Eater of Offerings (Agni), the Lord of Rākṣasas (Nairṛta), the Lord of Wind (Vāyu), Vasiṣṭha, Takṣaka, Karkoṭaka, Padma, Mahāpadma, Huluhulu, Kulika, and Śaṅkhapāla. Garjita, Gurṇita, Āvarta, Ghanasvara, Pūrayitṛ, Mahāvarṣa, and the fierce clouds—these are they. The Blessed One has four faces: black, green, red, and yellow. He has three eyes and twelve arms, and he stands in the pratyālīḍha posture. He wears white garments and is well-anointed with the finest perfumes. He tramples upon the breasts and the head of Bhairava and Kālarātri. He wears a tiger skin and is fully expanded with the flavor of compassion. He is embraced on all sides by Vajravārāhī. With the two arms of the embrace, he holds a nine-pronged vajra and a vajra bell. The other two hands hold an elephant skin; the third hand holds a ḍamaru, the fourth a battle-axe, the fifth a curved knife (kartṛ), and the sixth a trident. In the third left hand is a khaṭvāṅga with a five-pronged vajra at its split top, a vajra bell, and a hanging banner of a variegated lotus marked in the center by a crossed vajra, with a single-pronged vajra at the bottom. The fourth [left hand] holds a skull-cup filled with blood.
On the fifth [hand] is a vajra-noose, and on the sixth is the head of Brahmā. He wears a crown of skulls and a crescent moon, and his diadem is pressed down by a crossed vajra. He is terrifying with bared fangs, possessing the aesthetic moods of the erotic and so forth. He wears a garland of fresh human heads and is adorned with matted locks and a diadem. He is further adorned with necklaces, bracelets, earrings, and a crest-jewel. The six mudrās, known as the Brahma-thread and the ashes, are the characteristics of the six perfections in their state of complete purity; therefore, he is sealed with the six mudrās.
In front of him is the Blessed Lady, red in color, with two arms, one face, and three eyes. Her hair is loose, and she is naked, wearing a girdle adorned with skull fragments. In her left embracing arm, she holds a skull-cup filled with the blood of the wicked. With her right hand, she makes the threatening gesture toward all obstructors in every direction and holds a curved knife. She possesses a fierce brilliance like the fire at the end of an eon, with blood dripping from her mouth. Her two calves are perfectly embraced, and she is the very embodiment of the bestower of great bliss.
On the eastern petal is Ḍākinī; likewise, in the north is Lāmā; in the west is Khaṇḍarohī; and likewise in the south is Rūpiṇī. The first is blue, the second green, the third red, and the fourth is yellow. They have three eyes and fierce expressions, with loose hair and naked bodies. They are perfectly adorned with all ornaments and sealed with the five mudrās. Ḍākinī and the others hold khaṭvāṅgas.
Holding a skull-cup filled with flesh, at all times in the right hand, he is intent on striking with the weapon of the curved knife. In the cardinal and intermediate directions, upon the vases, are placed lotus vessels filled with bodhicitta.
First is the blue eight-spoked wheel of the mind (citta-cakra). On its eastern spoke, at Pullīramalaya, are Khaṇḍakapālin and Pracandā. In the north, at Jālandhara, are Mahākaṅkāla and Caṇḍākṣī. In the west, at Oḍḍiyāna, are Kaṅkāla and Prabhāvatī. In the south, at Arbuda, are Vikaṭadaṃṣṭrin and Mahānāsā. In the southeast, at Godāvarī, are Surāvairin and Sthiramatī. In the southwest, at Rāmeśvarī, are Amitābha and Kharvarī. In the northwest, at Devīkoṭa, are Vajraprabha and Laṅkeśvarī. In the northeast, at Mālava, are Vajradeha and Drumacchāyā. Such is the wheel of the mind.
Second is the red wheel of speech (vāk-cakra). On its eastern spoke, at Kāmarūpa, are Aṅkurika and Kālarātrī. In the north, at Oḍra, are Vajrajaṭila and Mahābhairavā. In the west, at Triśakuni, are Mahāvīra and Vāyuvegā. In the south, at Kośala, are Vajrahūṃkāra and Surābhakṣī. In the southeast, at Kalinga, are Subhadra and Śyāmādevī. In the southwest, at Lampāka, are Vajrabhadra and Subhadrā. In the northwest, at Kāñcī, are Mahābhairava and Hayakarṇā. In the northeast, at Himālaya, are Sunetra and Kākāsyā. Such is the wheel of speech.
Third is the white Body Cakra. On its eastern spoke, in Pretapuri, are Mahābala and Cakravegā. In the north, at Grhadevatā, are Ratnavajra and Khaṇḍarohā. In the west, at Saurāṣṭra, are Hayagrīva and Śauṇḍinī. In the south, at Suvarṇadvīpa, are Ākāśagarbha and Cakravarmiṇī. In the southeast, at Nāgapura, are Śrī Heruka and Suvīrā. In the southwest, at Sindhu, are Padmanarteśvara and Mahābalā. In the northwest, at Maru, are Vairocana and Cakravartinī. In the northeast, at Kulūta, are Vajrasattva and Mahāvīryā. Such is the Body Cakra.
All the heroes have four arms and one face, adorned with matted hair and crowns. All wear the five mudrās, have three eyes, and are adorned with girdles. According to the divisions of body, speech, and mind, they abide in three colors. With the two embracing hands they hold a vajra and a bell; in the right they hold a ḍamaru, and in the left they hold a khaṭvāṅga and a skull-cup filled with blood, standing upon corpses.
The goddesses are pure in color, with one face and two arms, impassioned with great desire. They are adorned with loose hair, have three eyes, and possess fierce forms. Furthermore, they are clothed in space, adorned with necklaces, crest-jewels, armlets, earrings, and sacred threads. Their necks are adorned with garlands of heads, and their shanks have the sound of tinkling bells.
Adorned with a buddha, he wears a crown of skulls. In his embrace, he holds a skull-cup and a curved knife with a threatening gesture. At the gates of the east, north, west, and south are the Crow-faced, Owl-faced, Dog-faced, and Pig-faced goddesses. In the corners of the southeast, southwest, northwest, and northeast are Yamadamstrī, Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani. The Crow-faced goddess and the others are similar to the ḍākinīs and so forth; however, they sit upon corpses and, like Śrī Heruka and the others, stand in the posture with the right leg extended. Likewise, the second forms of the goddesses of the cardinal and intermediate directions are captivating. All the heroes and heroines are situated in the center of a variegated lotus and sun, and all the heroes and heroines have a vajra garland upon their foreheads. On both sides of the main gate, one should understand there is a band of dhāraṇīs: Vīṇā, Vaṃśā, Murajā, Mukundā, Hāsā, Lāsyā, Gītā, Nṛtyā, Puṣpā, Dhūpā, Dīpā, Gandhā, Ādarśā, Rasā, Sparśā, and Dharmā. Vīṇā is blue. Lāsyā, Vaṃśā, and Gītā are the color of dawn-yellow. Nṛtyā and Murajā are green. Mukundā and Hāsā are the color of dawn-white.
The goddesses, such as Vīṇā and the others, should be depicted holding lutes and so forth in their hands; for the others, they hold a vajra and bell, a khaṭvāṅga, and a lotus vessel. With these, the vajra is held at the hip. Lāsyā and Gītā are accompanied by the kaṃsika cymbals; Nṛtyā is surrounded by a lotus. All of these have four arms. Dhūpā is smoke-colored; Puṣpā is white; Dīpā is like the tip of a lamp flame; Gandhā is red; Ādarśā is white; Rasā is red; Sparśā is green; and the one called Dharmā is white, to be understood through the application of bowing. In their hands, they hold a mirror and are marked by those lotus vessels.
One should meditate on the body wheel as abiding in the wind maṇḍala; the wise should meditate on the speech wheel as abiding in water; and the mind wheel, the great bliss, as abiding in the fire maṇḍala. The samaya maṇḍala abides in the maheśvara maṇḍala, the unsurpassed. Regarding the meditation on that second meditation: the three wheels are completely surrounded by garlands of wheels, lotuses, and vajras; one should meditate on the wisdom wheel. Likewise, there is a garland of jewels and a lotus; the samaya wheel, surrounded by a garland of crossed vajras, should be drawn. The outer maṇḍala should be surrounded by the flavors of the five families. In the center of the four maṇḍalas at the heart, [the central deity is placed].
Having observed the colors and hand-symbols, in the heart of that very [deity], one should meditate on the seed-syllable upon a moon and vajra as the wisdom-samaya. This is thoroughly examined as the application of the approach stage. Through the yoga of the instantaneous body, one touches the form of the mudrā in an instant. The body is instantaneous in every respect, and the secret mantra is recited in an instant. Through the divisions of body, speech, and mind, and by the nature of the three syllables, the celestial realms, the earth, and the subterranean regions become a single body in an instant.
PU JA O A GO RA DE MA | KA O TRI KO | KA LA KA HI | PRE GRI SAU SU | NA SI MA KU | PULLĪRAMĀLAYA: at the head is Caṇḍākṣī. JĀLANDHARA: at the crown of the head is Caṇḍā. OḌḌIYĀNA: at the right ear is Prabhāvatī. ARBUDA: at the back of the head is Mahānāsā. These are the pīṭhas, the stage of the Joyous (pramuditā). GODĀVARĪ: at the left ear is Sthiramatī. RĀMEŚVARĪ: in the middle of the eyebrows is Laghimā. DEVĪKOṬI: at the eyes is Laṅkeśvarī. MĀLAVA: at the two shoulders is Śiṃhā. These are the upapīṭhas, and likewise the stage of the Stainless (vimalā), the wheel of the mind (citta-cakra), which is the sky-farer (khecara). KĀMARŪPA: at the two armpits is Airāvatī. OḌḌIYĀNA: at the two breasts is Laghimā. These are the kṣetras, to be known as the stage of the Luminous (prabhākarī). TRIŚAKUNI: at the navel is Vāyuvegā. KOŚALA: at the tip of the nose is Madyamā. These are the upakṣetras, the stage of the Radiant (arciṣmatī).
In Kaliṅga, that is, the mouth, is the goddess Śyāmādevī. In Lampāka, that is, the throat, is Subhadrā. In Cāndoha, that is, the stage of "extremely difficult to refine," is Hayakarṇā. In Kāñcī, that is, the heart, is Khaṇḍarohā. In Himālaya, that is, the private parts, is Kākāsyā. In Upacāndoha, that is, the stage of "manifestation," is the Wheel of Speech, which dwells on the earth. In Pretapurī, that is, the genitals, is Cakravegā. In Gṛhadevatā, that is, the anus, is Khaṇḍarohā. This is the stage of "integration," which is the stage of "far-reaching." In Saurāṣṭra, that is, the two thighs, is Śauṇḍinī. In Suvarṇadvīpa, that is, the two calves, is Cakravarmiṇī. This is the "near integration," which is the stage of "immovable." In Nagara, that is, the fingers and toes, is Mahāvīrā. In Sindhu, that is, the tops of the feet, is Mahābalā. This is the "charnel ground," which is the stage of "excellent intelligence." In Maru, that is, the big toes, is Cakravartinī. In Kulutā, that is, the two knees, is Mahāvīryā. This is the "near charnel ground," which is the stage of "cloud of dharma." This is the Wheel of Body, which dwells beneath the earth. The earth element is Pāṃśucandā. The water element is Māraṇī. The fire element is Ākarṣaṇī. The wind element is Lāsyā Īśvarī. The space element is Padmajālinī. Through the application of the near-approach, this is the maṇḍala of the assembly of ḍākinīs. The nails and teeth are Khaṇḍakapālin. The hair and body hair are Mahākaṅkāla. The skin and impurities are Kaṅkāla.
Flesh is Vighnantakṛt; the sinews are Yamāntakṛt; the bones are Amitābha; the kidneys are Vajraprabha; the heart is Vajrakāya; the eyes are Aṅkurika; the bile is Vajrajāta; the lungs are Suvīra; the small intestines are Vajra-hūṃ-kāra; the large intestines are Subhadra; the stomach is Vajrabhadra; the feces are Mahābhairava; the joints are Virūpākṣa; the phlegm is Mahābala; the pus is Ratnavajra; the blood is Hayagrīva; the sweat is Ākāśagarbha; the fat is Heruka; the tears are Padmanarteśvara; the saliva is Vairocana; the mucus is Vajrasattva.
The aggregate of form is Vairocana; feeling is Vajrasūrya; perception is Padmanarteśvara; formations are Vajrarāja; consciousness is Vajrasattva. All the Tathāgatas are the glorious Vajraheruka. The eyes are Mohavajrā; the ears are Dveṣavajrā; the nose is Mātsaryavajrā; the mouth is Rāgavajrā; the sense of touch is Īrṣyāvajrā; all the sense bases are Īśvaravajrā. In the mind is Akṣobhya; in the speech is Amitābha; in the body is Vajravairocana. Through the application of the heroes’ laughter, one should also correctly undertake the practice.
OṂ SARVA VĪRAYOGINĪ KĀYA VĀKA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ. By means of the hook application at one’s own heart, the wisdom wheel should be summoned. Through the nature of becoming one, the two rituals should then be arranged. At the heart is OṂ HA, white Vajrasattva. At the head is NA MA HI, yellow Vairocana. At the crown of the head is SVĀ HĀ HU, red Padmanarteśvara. At the two shoulders is VAUṢAṬ HE, black Śrī Heruka. At the two eyes is HŪṂ HŪṂ HO, red Vajrasūrya. At all the limbs is PHAṬ HAṂ, green Hayagrīva; this is the armor. At the navel is OṂ VAṂ, red Vajravārāhī. At the heart is HAṂ YOṂ, blue Yamī. At the mouth is HRĪṂ MOṂ, white Mohanī. At the head is HRĪṂ HRĪṂ, yellow Kṣobhaṇī. At the crown of the head is HŪṂ HŪṂ, green Trāsanī. At all the limbs is PHAṬ PHAṬ, multi-colored Caṇḍālī; this is the armor. Three-faced and six-armed, possessing the vajra; others are four-armed. Holding the vajra, bell, lotus vessel, and khaṭvāṅga, the ḍamaru, and the head. The other weapons in the hands are the wheel and so forth, their respective marks. The bell, the skull-cup itself, the khaṭvāṅga, and the ḍamaru. Vārāhī is three-faced and six-armed; her faces are red, blue, and green. The lotus vessel, the khaṭvāṅga, the noose, and the hook, the head of Brahmā, and the curved knife—these should be visualized in her hands. The others are one-faced and four-armed.
One should meditate on the three eyes and the hands holding a lotus vessel, a khaṭvāṅga, a bell, a hand-drum, and a curved knife. Vajrasattva is Vārāhī; Vairocana is known as Yamini; Nṛtyeśvara is Mohanī; likewise, Heruka is Kṣobhaṇī; Vajrasūrya is Trāsanī; and Hayagrīva is Caṇḍākṣī.
Having formed a knot with the index fingers and joined the middle fingers, the two thumbs should be firmly pressed together. Placing this at the center of the forehead, one should rotate it and move it all around. Pressing the feet down and looking upward, one should utter the sound "Phaim" and summon the heroes and yoginīs residing in the world systems of the ten directions.
Then, the essential mudrā is shown: rotating the right and left hands, one should summon, enter, bind, and subjugate the ḍākinīs through the bliss of the union of Jaḥ Hūṃ Baṃ Hoḥ. One should recite: "Oṃ yogashuddhaḥ sarvadharmā yogashuddho ’haṃ."
Then, one should visualize the heroes and heroines completely filling the expanse of space. Holding vases filled with the water of wisdom nectar and facing toward the conferral of empowerment, the empowerment is bestowed: "Just as at the moment of birth, all the Tathāgatas were bathed, so too do I bathe [the deity] with the pure water of the gods." Oṃ sarvatathāgata-abhiṣekasamaya-śriye āḥ hūṃ. One should seal [the deity] with Vajrasattva; the others follow in their proper order.
The field-born goddesses, the co-emergent, likewise the place-born yoginīs, the family-born goddesses, and those born of mantra; likewise the invisible ones and the sky-farers; the inferior, the supreme, and the intermediate; the various and the most excellent; those who roam the sky, those who roam the earth, and those who dwell beneath the earth; the yakṣīs, the nāgīs, and likewise the gandharvīs and kinnarīs; the apsarīs and the siddhīs; the yaminīs and the Sugatas; those who are devoted to the Three Jewels and the self—all these are to be summoned into the maṇḍala. With various activities of song, performing dance and song, and with a feast of various supreme flavors, worship the chief of the ḍākinīs.
To the one with great terrifying fangs bared, adorned with garlands of intestines, who partakes of the great flesh—to the glorious Heruka, I prostrate. Thus, one should offer praise.
Upon the maṇḍalas of wind and fire, from the syllable A, there arises a kapāla filled with the five wisdom nectars. It is consecrated by the syllables Vaṃ and Hūṃ, and one should emanate from the three syllables and meditate upon the three syllables. Oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’haṃ. Having purified the mind that abides in the single taste of all phenomena, through the application of the wisdom nectar, one should drink the water of the wisdom nectar. Oṃ vajrāmṛta udaka hūṃ hūṃ ṭha ṭha traṃ a. One should apply the syllable Dya to the tip of the nose, and place the syllable Bya at the navel of the liṅga, at the half-navel, the heart, and—
One should consecrate the region of the throat and the forehead with the collection of mantras: oṃ sarvavajrakāmini sarvabhakṣaṃ śodhaya guhyavajriṇi hūṃ. With this, one should initiate the joy. Having visualized the āli and kāli in front, the great yogi should rest. One should meditate on a complete moon maṇḍala abiding at the root of the navel. One should imagine the syllable of the supreme state abiding in its center. One should meditate on the deity’s body, the possessor of the vajra of body, speech, and mind. Having transcended the center of that, the nature of mind does not fail to arise. One should contemplate that as inconceivable, and one should not even contemplate it as permanent. Having contemplated that as inconceivable, one will then attain the state of grasping. Then, through meditative equipoise, one should recite the samaya-cakra mantra: oṃ śrīvajra he heruka hūṃ hūṃ phaṭ ḍākinījālasaṃvara svāhā. This is the heart mantra. oṃ hrīḥ ha ha hūṃ hūṃ phaṭ. This is the near-heart mantra. oṃ vajravairocanīye hūṃ hūṃ phaṭ svāhā and oṃ sarvabuddhaḍākinīye vajravarṇanīye hūṃ hūṃ phaṭ svāhā. These are the heart and near-heart mantras of the goddesses. oṃ kara kara pracaṇḍe hūṃ hūṃ phaṭ. oṃ kuru kuru caṇḍākṣīye hūṃ hūṃ phaṭ. oṃ bandha bandha prabhāvatīye hūṃ hūṃ phaṭ. oṃ trāsaya trāsaya mahānāśāye hūṃ hūṃ phaṭ. oṃ kṣobhaya kṣobhaya vīramatīye hūṃ hūṃ phaṭ. oṃ hrīṃ hrīṃ kharvarīye hūṃ hūṃ phaṭ.
HANA HANA PRĀṆAṂ SARVA PĀPAṂ SATĀNĀṂ SARVA PAŚŪNĀṂ MAHĀMĀṂSA CCHEDANI KRODHAMŪRTI DAṂṢṬRĀKĀRĀLINI MAHĀMUDRE ŚRĪ HERUKADEVASYA AGRA MAHIṢI SAHASRAŚIRE SAHASRAVĀHVE ŚATASAHASRĀNANE JVALITATEJASE JVALAMUKHE PIṄGALALOCANE VAJRAŚARĪRE VAJRASANE MILITI CILITE HE HE HĀ HĀ HŪṂ HŪṂ KHA KHA DHU DHU RU RU DHURU DHURU MURU MURU ADVAYE MAHĀYOGINI PAṬHITASIDDHE DREṂ DHAṂ DREṂ DHAṂ GAṂ GAṂ HE HE HĀḤ HĀḤ BHĪME HASA HASA VĪRE HĀ HĀ HOḤ HOḤ HŪṂ HŪṂ TRAILOKYAVINĀŚANI ŚATASAHASRAKOṬI TATHĀGATAPARIVĀRE HŪṂ HŪṂ PHAṬ SIṂHARŪPE KHA GAJARŪPE GAḤ TRAILOKYODARE SAMUDRA MEKHALE GRASA GRASA HŪṂ HŪṂ PHAṬ VĪRĀDVAYE HŪṂ HŪṂ HAḤ HAḤ MAHĀPAŚUMOHANI MAHĀYOGĪŚVARITVAṂ ḌĀKINĪLOKANĀṂ BANDHANI SATYA PRATYAYAKĀRIṆI HŪṂ HŪṂ PHAṬ BHŪTATRĀSANI MAHĀVĪRE PARAMASIDDHE YOGĪŚVARĪ PHAṬ HŪṂ HŪṂ PHAṬ HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ. This is the root mantra of Vārāhī. Thus, in the proper sequence, one should recite it as much as desired with the thumb and ring finger of the left hand using a rosary of human bone.
Through the application of the four sessions,
Devoted to meditation and recitation,
By the application of the samaya and samaya,
One should gather the secret mantras of the food.
At the beginning, middle, and end,
One should recite the hundred-syllable mantra.
To stabilize the wheel, the heroes, the ḍākinīs, and all the mantras themselves shall become utterly stable. Oṃ vajraheruka samayam anupālaya | herukatvenopatiṣṭha dṛḍho me bhava | sutoṣyo me bhava | anurakto me bhava | supoṣyo me bhava | sarvasiddhiṃ me prayaccha | sarvakarmasu ca me cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ | bhagavān vajraheruka mā me muñca | heruko bhava mahāsamayasattva āḥ hūṃ phaṭ.
If weariness arises, one should abide in the meditation on the thirty-seven factors of awakening, which are the purities. Ḍākinī is the application of mindfulness to the body. Lāmā is the application of mindfulness to feeling. Khaṇḍarohā is the application of mindfulness to phenomena. Rūpiṇī is the application of mindfulness to the mind; these are the purities of the wheel of great bliss. Caṇḍākṣī is the basis of miraculous power of aspiration. Caṇḍamustī is the basis of miraculous power of diligence. Prabhāvatī is the basis of miraculous power of investigation. Mahānāsā is the basis of miraculous power of the mind. Sthirabuddhi is the faculty of faith. Kharvarī is the faculty of diligence. Laṅkeśvarī is the faculty of mindfulness. Drumacchāyā is the faculty of absorption; these are the purities of the mind wheel. Airāvatī is the faculty of insight. Mahābhairavā is the power of faith.
Vāyuvegā is the power of diligence. Śauṇḍinī is the power of mindfulness. Śyāmādevī is the power of absorption. Subhadrā is the power of insight. Hayakarṇā is the branch of awakening of correct absorption. Khaṇḍarohā is the branch of awakening of correct diligence; these are the purities of the wheel of speech. Cakravegā is the branch of awakening of correct joy. Khandarohā is the branch of awakening of correct pliancy. Śauṇḍinī is the branch of awakening of correct discrimination of phenomena. Cakravarmiṇī is the branch of awakening of correct mindfulness. Mahāvīryā is the branch of awakening of correct equanimity. Mahābalā is right view. Cakravartinī is right thought. Mahāvīryā is right speech; these are the purities of the wheel of body. Kākāsyā is right action. Ulūkāsyā is right livelihood. Śvānāsyā is right effort. Śūkarāsyā is right mindfulness. The Blessed One, Śrī Heruka, is right absorption. Yamamathani is the production of virtuous phenomena not yet produced. Yamadūti is the perfect preservation of virtuous phenomena already produced. Yamadaṃṣṭriṇī is the abandonment of non-virtuous phenomena already produced.
Yamamathani is the non-arising of unwholesome phenomena that have not yet arisen. The crown of Vajrasattva is the purity of the five wisdoms. By the root mantra, the hero’s sacrificial thread is to be visualized. By the mantra of Vajravārāhī, the neck is adorned with a necklace. By the heart mantra, the deity is adorned with a rosary of fifty beads. By the seven-syllable mantra, the ears are adorned with earrings. By the mantra of Buddhadaṇḍī, the skin garment is worn. By the mantras of the six yoginīs, the waist is adorned with a belt. By these mudrās, the body of the hero of the six armors is beautified. By the mantras of the yoginīs of all the cakras, the skull-cup for drinking is formed. The mantra known as Vairocanī is the skull-ornament on the head. By the twenty-four heroes, the three realms are visualized upon the body. The khaṭvāṅga is the body of the deity; the sound of the ḍamaru is insight. The Blessed Hero is the day, and the yoginī is explained as the night. The heroes arisen from emanation are emanated by the mind in sixty limbs. The emanation of the pure dharma is shown in the form of Vārāhī. Śrī is non-dual wisdom; He is the emptiness of causes and so forth; Ru is free from arrangement; and Ka is not abiding anywhere. Although the yogin dwelling in the mind does not conceptualize nirvāṇa, at the time of transference, the yogin [is joined] with the glorious Heruka and the rest.
The heroes and yoginīs hold various flowers in their hands, along with various victory banners and streamers, the sounds of various musical instruments, and various offerings of song. They lead one who perceives this so-called "death" as a mere conceptual construction to the celestial realm of Khecarī.
Having contemplated all in this way, the yogis, having completely abandoned all fear, practice the great, wise yoga of Cakrasaṃvara, the supreme bliss. They conduct themselves within the five families, yet conceptualize them as a single family. Having become constant in the practice of celibacy, they make offerings with the eight-line mantra. With a mind of non-conceptual nature, they enjoy the five sensory qualities. Having abandoned all doubt, the mantrin conducts himself like a lion.
Having thus visualized oneself, one should not abandon the mantra but guard it strictly. Standing with the right leg extended, having bound the mudrā and entered meditative equipoise: the index fingers are hooked and the middle fingers are firmly joined; the thumbs are firmly joined as a vajra. Placing this in the center of the forehead, one should rotate and move it all around.
Recite: OṂ ĀḤ ARALLI HOḤ | JAḤ HŪṂ BAṂ HOḤ VAJRA ḌĀKINĪ SAMAYA STVAṂ DṚŚYA HOḤ. This should be recited three, four, or up to five times. Then, rotating the right and left hands, one should display the mudrā of the essence of the ḍākinīs' bliss. On a high yogic seat, naked and with hair loosened, one should remain facing the south.
At midnight, the torma offering should be given. Opening the vajra palms upward, one should then recite this secret mantra: OṂ KHA KHA KHĀHI KHĀHI | SARVA YAKṢA RĀKṢASA BHŪTA PRETA PIŚĀCA UNMĀDA APASMĀRA ḌĀKINYĀDAYAḤ | IMAṂ BALIṂ GṚHṆANTU SAMAYAṂ RAKṢANTU | SARVA SIDDHIṂ ME PRAYACCHANTU | YATHĀIVAṂ YATHAIṢṬAṂ | BHUÑJATHA PĪVATHA JIGHRATHA MĀTIKRAMATHA | MAMA SARVA KĀRTAYA SAT SUKHA VIVṚDDHAYE | SĀHĀYIKĀ BHAVANTU HŪṂ HŪṂ PHAṬ SVĀHĀ |
The yogi should display the hero’s signs with the left hand. These are the foundations of the heroes, and the signs are thoroughly engaged. All beings of the three realms, both moving and non-moving, arise from the left. Vajrasattva is in the wood; Vairocana dwells in the branch. Padmanarteśvara is in the root; the six heroes are bestowed upon the teeth. The little finger is the inexhaustible body of space; on the surface of the nails is Hayagrīva. Since it is the foundation of all heroes, it is applied to the left hand. On the palm of the hand are the female messengers, oriented toward the attainment. On the back, they are most certain. Having performed these five signs, the practitioner should display them. Earth is explained as Locanā; the water element is known as Māraṇī. Fire and wind are Tārā and Pāṇḍaravāsinī, as they are renowned. The emptiness of the intervals is likewise the Perfection. The wise should perform the dismissal from the back. Having thus performed the hero’s signs, one should then begin the meal together.
On the tenth day of the dark fortnight, and likewise on the tenth of the bright fortnight, the Vajra Goddesses, with meat and wine, should certainly be worshipped with great effort. On the eighth and fourteenth days of the dark fortnight, and on the eighth and fourteenth days of the bright fortnight, the Vajra Goddesses, with meat and wine, should certainly be worshipped with great effort. They will be greatly pleased by such offerings, and the glorious Heruka, becoming impassioned, will be delighted in heart and bestow the supreme [attainment]. Thus, the supreme [attainment] is in the palm of their hands. Whatever great virtue has arisen from this work composed by Bodhivajra, may the lower realms be purified and the supreme state of Bodhivajra be attained.
Having observed the Samayoga in its entirety, the Ḍākinījālasamvara, and the works of Lūyipa and others, and having thoroughly familiarized myself with the glorious Lord of the Mandala in a single lifetime, I prostrate to the Sambhara-krīḍā-sādhana, which is awakening itself.
This concludes the Sambhara-vidhi-nāma-ṭīkā, a commentary composed by the master Bodhivajra, concerning the realization of the glorious Cakrasaṃvara. It was translated, edited, and finalized by the Indian abbot Bhadraśrībodhi and the translator-monk Gewai Lodrö.